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Collaboration, Demystification, Rea-Historiography : the Reclamation of the Black Body by Contemporary Indigenous Female Photo-Media Artists

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Collaboration, Demystification, Rea-Historiography : the Reclamation of the Black Body by Contemporary Indigenous Female Photo-Media Artists Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2002 Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists Eva Fernandez Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Photography Commons Recommended Citation Fernandez, E. (2002). Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists. https://ro.ecu.edu.au/theses/741 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/741 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. EDiTH COWAN UNIVERSiTV l.lBRA~V Collaboration, Demystification, Rea-historiography The Reclamation of the Blak Body by Contemporary Indigenous female photo­ media artists by Eva Fernandez A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Creative Arts) WAAPA Edith Cowan University May 2002 Abstract This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades. This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea; all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new ema-ging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text; or (iii) contain any d~far]1atory material. Signature: Date: ACKNOWLEDGMENTS I would like to first of all thank Tracey Moffatt for introducing me to the amazing- world of Indigenous art and culture and involving me in her work. I would like to express my sincere gratitude to Dr Dean Chan for his support, patience and encyclopaedic knowledge. I would also like to express my gratitude to Brenda Croft for her professional support, friendship and great yarns. Thank you to my best friend Dianne Jones for creating such amazing works and with such impeccable timing, and a special thanks to all my Aboriginal students whom have stared and taught me more than I could ever hope to teach them. Thank you also to the other artists included in this thesis, Destiny Deacon and Rea, for their generosity. Lastly, I would like to thank myfamily for their endearing support and enthusiasm. TABLE OF CONTENTS Introduction ............................................................................................. 1 Chapter 1 - Origins and rationale of the construction of representation of the indigenous 'other' .................................................................................... 6 Chapter 2- Introduction to contemporary Indigenous photography 2. 1 The Battle Begins ...................................................................... 23 2.2 The 1980s ................................................................................. 29 2.3 The 1990s & OOs ....................................................................... 35 Chapter 3 - Brenda L. Croft ................................................................. 37 3. 1 The Big Deal is Black ................................................................ 37 3.2 Strange Fruit ............................................................................. 47 Chapter 4 - Destiny Deacon ................................................................ 54 4. 1 Welcome to Never Never .......................................................... 54 4.2 Last Laughs ............................................................................... 57 4.3 Peach Blossoms Revenge ........................................................ 60 4.4 Welcome to my Island .............................................................. 62 4.5 Eva Johnson ............................................................................. 66 Chapter 5 - Rea ................................................................................... 70 5.1 Look who's calling the kettle black ........................................... 71 5.2 Definitions of Difference ........................................................... 74 5.3 R.I.P: The Blak Body Series ..................................................... 78 Chapter 6- 'L.H.0.0.Q. 'ere!'-The work of Dianne Jones ................... 84 Conclusion ........................................................................................... 95 References: .......................................................................................... 97 LIST OF FIGURES Figure 1 Four views of a South Australian Aboriginal female 'Ellen' aged twenty-two, photographed (c. 1870) according to Huxley's 'photometric instructions', photographer unknown. (RAI 2116, 2117) Figure 2 Canando, West Queensland Aboriginal (c. 1900), Tosca Studios ,black and white photograph, collection Queensland Museum, 13.4 x 21 cm Figure 3 Daniel Marquis Brisbane (1862 - 68) Anthropology Museum, University of Queensland, 55 x 93 mm Figure 4 John William Lindt, Untitled (three Aboriginal women and a small child, (c. 1873), albumen print, 20.3 x 15.4, Collection of National Gallery of Victoria. Figure 5 Paul Foelsche, Portrait of a woman, Minnegie, Limilngan NT, aged 20 years (1887), gelatin silver photograph 15.3 x 10.3 Collection of The Art Gallery of New South Wales Paul Foelsche, Portrait of a woman, Aligator River, Bunitj NT, aged 30 years (1880s), gelatin silver photograph, 15.3 x 10.3 Collection of The Art Gallery of New South Wales Paul Foelsche, Portrait of a woman, Minnegie or Mary River, Limilngan NT, aged 18 years (1880s), gelatin silver photograph 15.3 x 10.3 Collection of The Art Gallery of New South Wales Figure 6 C.A. Woolley, Truganini, (c.1866), RA.I. Figure 7 Baldwin Spencer, Aranda boy wearing cast off clothing at Alice Springs, (1901) National Museum of Victoria Figure 8 Merv Bishop, Life and Death Dash, (1971),gelatin silver photograph, 40.2 x 30.4 cm, National Gallery of Australia Figure 9 Merv Bishop, Prime Minister Gough Whit/am pours soil into hands of traditional landowner Vincent Lingiari, Northern Territory, (1975), direct positive colour photograph 76.2 x 50.8 cm, National Gallery of Australia Figure 1O Brenda L Croft, Koori family in Everleigh Street Sydney, Redfern. Stop Black Deaths in Custody rally, 28 September 1985, (1985) gelatin silver photograph, 50.4 x 40.5 cm,50.4 x 40.5cm Figure 11 Brenda L Croft, Michael Watson in Redfern on the Long March to Freedom, Justice and Hope, Invasion Day, 26 January 1988, (1988) gelatin silver photograph, 50.4 x 40.5 cm, National Gallery of Australia Figure 12 Brenda L Croft, The lngrams: Millie, Norma, Sue, Leeanne, Sylvia, Jarin, Jemiah, Jaden and Shanae, (1993), direct colour positive photograph, National Gallery of Australia Figure 13 Nicholas Alder, (1988) I ~/ (Top left) Eric Lawford Jangala Gooniyandi, and Liam Lawford Japurrula Wangkajunga, both from Christmas Creek, 1988 (Top right) Dicky Unghango, Wallambi, Kalumburu (Bottom left) Munda Nampitjin, Kukatja, Mu/an (Bottom right) Rachel See/a Nungungurayi, Jaru, Ringers Soak Figure 14 Brenda L Croft, Hetti and Tyson, (1993), Colour
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